Charlene worked for Immendorf. Anarchist painter: related to Kant's Sublime where thought and feeling have to come together, through the sublime you go through feeling and to thought - to be able to first go to feeling and then to thought.

from Charlene von Heyl PR, Gertrude Stein quote: "clarity is of no importance because nobody listens and nobody knows what you mean no matter what you mean nor how clearly you mean what you mean. But if you have vitality enough of knowing enough of what you mean somebody and sometime and sometimes a great many will have to realize that you know what you mean. And so they will agree that you mean what you know what you know you mean which is as near as anybody can come to understanding anyone."

painting is to find a proposition that's going to save you from language, even if it's just for a moment

Ben Shahn

Ben Shahn - detail in photography and painting (FSA, WPA, with walker evans and dorothea lange photography - social realism, social documentary photograph)

Harrison Begay Navajo painter supported by WPA, federal arts project https://toh-atin.com/artists/harrison-begay

Alberti's Tangible Minerva - Renaissance text on Painting, as material intellect (perspective/geometry rendered in material)

Picabia's Nature Morte: http://www.artnet.com/magazineus/features/kuspit/kuspit3-24-06.asp

Francis Picabia's Nature Morte: Portrait of Cézanne/Portrait of Renoir/Portrait of Rembrandt (1920) makes a much cleaner break with the past. It is the archetypal Dadaist work of anti-art. It is explicitly offensive -- a rather nasty attack on painting: Cézanne, Renoir and Rembrandt are stuffed monkeys, and painting is dead. The stuffed monkey -- a found object -- in the center of the panel illustrates the text of the title that surrounds it. The monkey is a kind of exclamation point in what is essentially a verbal performance. The crude lettering of the title and the shabby look of the monkey make the subversive point bluntly. Picabia makes a monkey of painting, and its use of the model from nature. 

The work makes no pretense to esthetic merit or artistic authority, though the use of stuffed animals was picked up by Robert Rauschenberg more than a half century later. Also, it survives only in photographic form, like so many later conceptual performances. In fact, it may have been made to be photographed, as Picabia's Ici, C'est Ici Stieglitz (1915) -- the pioneer photographer Alfred Stieglitz symbolized by a folding camera -- suggests. The photograph had come of age in the 20th century, and Picabia realized that it would become the major means of promulgating and legitimating ideas. Its ironic originality -- it could be reproduced but it was one of a kind -- gave it a peculiarly Dadaist character. The photograph was a new kind of document, all the more so because it had the authority of a machine behind it, and machines had more authority than people, as Picabia's substitution of machines for people implies. The substitution has something decadent about it: Like Huysmans' decadent hero Des Esseintes, Picabia prefers artificial machines to natural people -- although people who act like machines and natural phenomena that look artificial are acceptable.(24)

Picabia was "a negator. . . . Whatever you said, he contradicted," said Duchamp, his close friend,(25) and he used the machine to negate and contradict the human. 

Artists who reinvent themselves

SH Raza - Bindhu geometric abstractions

https://www.indiaart.com/artists/s-h-raza.asp

https://www.architecturaldigest.in/content/prinsepss-bhanu-athaiya-estate-sale-sets-give-ace-designer-due-artist/

Bhanu Athaiya - Bengal Progressive school painter turned costume designer, Oscar winner for Ghandi

SaraRahbar